25.4.10
20.4.10
Schwinn|Magical Bell
Schwinn, an American bicycle brand, is urging harried young Americans to step off the rat race for a few minutes and hop on their bikes. The integrated advertising campaign is centred on the brand’s iconic handle-bar mounted Schwinn bicycle bell, using it not only as a touchstone to trigger warm associations people have for their first Schwinn bike, but as a subtle ‘wake up’ call to drop that BlackBerry, put down that videogame, strap on your helmet and go for a ride. The campaign includes print and TV developed by Cossette, as well as banners, a web site (www.RideSchwinn.com), P.R. and an extensive dealer activation program.
Print work features a shot of a woman riding on the beach, her dog right behind her, with the headline, “The world needs a recess bell.” Another execution shows a father and daughter biking on a country lane by a glimmering lake with the headline, “Never stop and smell the cubicles.”
“Magical Bell”, the TV spot, shows a woman on her Schwinn bike, riding down a suburban street, passing a young boy sitting in his yard, thumbs busy with his videogame device. She rings her bike’s bell, and suddenly, as we hear the familiar “br’ring-ding,” the videogame is gone and he’s playing on a tire swing. Next we see her headed down a city street, passing a man who’s busy yelling into his cell phone. With another flick of her bell, his phone is gone, replaced by a cuddly puppy. In the final transformation, she passes a woman with her kids pushing a laden grocery cart toward a mini-van in the parking lot of a big box store. As the bell rings, the mini-van turns into an ice cream truck.
Click on the image below to play the video in YouTube (HD)
“The size and scope of this campaign demonstrates to both our consumers and our retail community how strong our commitment is to restoring the Schwinn brand’s traditional role in the leisure category,” says Andrew Coccari, Chief Marketing Officer for Dorel Recreational/Leisure. “Our core message is that life is hectic and stressful, and Schwinn products are designed to help you get back on a slower track, enjoying time with family and friends in a healthful and restorative activity.”
Dorel Industries’ Recreational/Leisure segment is backing up the efforts of local retailers with point of sale materials and local market support, along with subsidized co-op advertising. In addition, Dorel R/L has undertaken an extensive study of the shopping experience for bikes and bike products that promise to increase the efficiency of the company’s outreach to consumers in both retail and online environments.
Credits
The Magical Bell ad was developed at Cossette New York by executive creative director Bill Oberlander, senior art director Anthony Alvarez, senior copywriter Jason Ashlock.Cossette Chief Creative Officer Bill Oberlander gives an overview of the campaign. “We’re out to restore people’s love affair with their Schwinn bikes. Our overall sentiment in this campaign is to gently remind them that life isn’t a race, it’s a ride. We want people to pedal slowly. The bell is a catalyst, something that takes us back to a time when we weren’t caught up with all the trappings of twenty-first century life. We felt it was a device that was ripe for the taking, and if anyone should own this, it should be Schwinn.”
Filming was shot by director Gaysorn Thavat via Grand Large, with director of photography Ginny Loane, producer Margaux Ravis, editor Vincent Velasquez, Flame artist Stefan Coory at Machina/Grand Large. Telecine was by Jamie Wilkinson at The Mill, New York. Sound was mixed by Keith Reynaud via Sound Lounge, New York.
Music is “Just a Dream” by AM60.
26.3.10
Nissan| GPS system for the confused
Car with GPS system for the confused from Nissan.
This print campaign announcing the GPS facility of the car is features some junctions and boards In Egypt with contradictory and confusing road/street signs.
The campaign, developed by TBWA, Cairo, is based on the factual presentation and hence manages to bring home the message.
In one place
The Arabic sign reads: Abdallah Fekry Street
The English sign reads: Abd El Salam Zaki Street
CREDITS
Advertising Agency: TBWA, Cairo, Egypt
Creative Director: Arindam Sengupta (Oranjee)
Art Directors: Sameh George, Youssef Gadallah
Copywriters: Sameh George, Youssef Gadallah
Photographer: Hussien Shaban
9.2.10
ACDelco|Interactive Truck
Toyota|Hybrid ad|Prius app
BRAND: Toyota
BRAND OWNER: Toyota
CATEGORY:Automotive
REGION: USA
DATE: Oct 2009
AGENCY: Saatchi & Saatchi
MEDIA OWNER: Reuters
MEDIA CHANNEL
7.2.10
BMW Financial Services|Scent
Joy is an exciting new fragrance from BMW.Joy is the scent of a new BMW. To make your dream BMW a reality, visit your BMW retailer orwww.bmwfinance.ca and explore all of your leasing and financing options today. BMW Financial Services
7.1.10
How Ford Got Social Marketing Right
Ford recently wrapped the first chapter of its Fiesta Movement, leaving us distinctly wiser about marketing in the digital space.
Ford gave 100 consumers a car for six months and asked them to complete a different mission every month. And away they went. At the direction of Ford and their own imagination, "agents" used their Fiestas to deliver Meals On Wheels. They used them to take Harry And David treats to the National Guard. They went looking for adventure, some to wrestle alligators, others actually to elope. All of these stories were then lovingly documented on YouTube, Flickr, Facebook, and Twitter.
The campaign was an important moment for Ford. It wanted in to the small car market, and it hadn't sold a subcompact car in the United States since it discontinued the Aspire in 1997.
And it was an important moment for marketing. The Fiesta Movement promised to be the most visible, formative social media experiment for the automotive world. Get this right and Detroit marketing would never be the same.
I had the good fortune to interview Bud Caddell the other day and he helped me see the inner workings of the Fiesta Movement. Bud works at Undercurrent, the digital strategy firm responsible for the campaign.
Under the direction of Jim Farly, Group VP at Ford and Connie Fontaine, manager of brand content there, Undercurrent decided to depart from the viral marketing rule book. Bud told me they were not interested in the classic early adopters, the people who act as influencers for the rest of us. Undercurrent wanted to make contact with a very specific group of people, a passionate group of culture creators.
Bud said,
The idea was: let's go find twenty-something YouTube storytellers who've learned how to earn a fan community of their own. [People] who can craft a true narrative inside video, and let's go talk to them. And let's put them inside situations that they don't get to normally experience/document. Let's add value back to their life. They're always looking, they're always hungry, they're always looking for more content to create. I think this gets things exactly right. Undercurrent grasped the underlying motive (and the real economy) at work in the digital space. People are not just telling stories for the sake of telling stories, though certainly, these stories have their own rewards. They were making narratives that would create economic value.
The digital space is an economy after all. People are creating, exchanging and capturing value, as they would in any marketplace. But this is a gift economy, where the transactions are shot through with cultural content and creation. In a gift economy, value tends to move not in little "tit for tat" transactions, but in long loops, moving between consumers before returning, augmented, to the corporation. In this case, adventures inspired by Undercurrent and Ford return as meaning for the brand and value for the corporation.
Undercurrent was reaching out to consumers not just to pitch them, but to ask them to help pitch the product. And the pitch was not merely a matter of "buzz." Undercurrent wanted consumers to help charge the Fiesta with glamor, excitement, and oddity — to complete the "meaning manufacture" normally conducted only by the agency.
This would be the usual "viral marketing" if all the consumer was called upon to do was to talk up Fiesta. But Undercurrent was proposing a richer bargain, enabling and incenting "agents" to create content for their own sakes, to feed their own networks, to build their own profiles...and in the process to contribute to the project of augmenting Fiesta's brand.
Fiesta's campaign worked because it was founded on fair trade. Both the brand and the agent were giving and getting. And this shows us a way out of the accusations that now preoccupy some discussions of social media marketing. With their gift economy approach, Ford and Undercurrent found a way to transcend all the fretting about "what bright, shining object can we invent to get the kids involved?" and, from the other side, all that "oh, there he goes again, it's the Man ripping off digital innocents." It's a happier, more productive, more symmetrical, relationship than these anxieties imply. Hat's off to Farley and Fontaine.
The effects of the campaign were sensational. Fiesta got 6.5 million YouTube views and 50,000 requests for information about the car — virtually none from people who already had a Ford in the garage. Ford sold 10,000 units in the first six days of sales. The results came at a relatively small cost. The Fiesta Movement is reputed to have cost a small fraction of the typical national TV campaign.
There is an awful lot of aimless experiment in the digital space these days. A lot of people who appear not to have a clue are selling digital marketing advice. I think the Fiesta Movement gives us new clarity. It's a three-step process.
- Engage culturally creative consumers to create content.
- Encourage them to distribute this content on social networks and digital markets in the form of a digital currency.
- Craft this is a way that it rebounds to the credit of the brand, turning digital currency (and narrative meaning) into a value for the brand.
In effect, outsource some of our marketing work. And in the process, turn the brand itself into an "agent" and an enabler of cultural production that is interesting and fun. Now the marketer is working with contemporary culture instead of against it. And everyone is well-served.
Grant McCracken is a research affiliate at MIT and the author of Chief Culture Officer (Basic Books).
4.11.09
Honda: Everybody knows somebody who loves a Honda
Honda Brand campaign began in August when Honda launched its official Facebook page (www.facebook.com/honda) with a social-experiment application to recruit Honda fans to show how everyone knows someone who loves a Honda. Once users joined the social experiment, they could become a fan of Honda and a handful of specific Honda vehicles. As of early October, all current Honda vehicles now have fan pages too. Once users participated in the experiment, they see how they are connected to their friends, view a chain of friends in their Honda web, and find out just how long their chain extends around the world.
Three early participants in the Facebook social-experiment were cast to appear in the new Honda Brand spots. All others featured in the spots are actual Honda owners and were selected through real-people casting in New York, N.Y.; Boulder, Colo.; and Charleston, S.C., where the spots were filmed. The multimedia campaign includes one 30-second spot and two 15-second spots.
An online hub (http://love.honda.com) for the Brand campaign, contains all three TV spots plus extra footage in a connected, sequential chain. Within the chain of spots, users can click on the Honda owner cast members and listen to more than 20 interviews of cast members talking about their personal Honda experiences.
Advertising Agency: RPA, Santa Monica, CA, USA
Creative Directors: Joe Baratelli, Patrick Mendelson
Art Director: Hobart Birmingham
Copywriters: Perrin Anderson, Tylynne McCauley
Other additional credits:
ECD: David Smith
CD: Joe Baratelli
CD: Patrick Mendelson
Jr. Art Director: Brian Farkas
EP: Gary Paticoff
Agency Producer: Brian Donnelly
3.11.09
2.11.09
18.10.09
Volkswagen:::Polo film festival
The campaign will culminate with the VW Polo Timeless Film Festival at the end of October.
BRAND: Volkswagen
BRAND OWNER: Volkswagen
CATEGORY: Automotive
REGION: UK
DATE: Oct 2009
AGENCY: DDB
MEDIA CHANNEL
13.10.09
Volkswagen’s Viral Video Serie: The Fun Theory
In September, Volkswagen launched www.rolighetsteorin.se, an creative initiative to test if fun could change the behavior of people. The campaign has become a huge success in the last couple of days with a tremendous amount of views for the videos that Volkswagen subtly seed with this campaign.
With this new campaign, developed by DDB Stockholm, Volkswagen turned a subway staircase in Stockholm, Sweden into a giant piano as part of their ‘Theory of Fun’ campaign. The effort is just one stunt that appears on the carmaker’s Rolighetsteorin.se website, which showcases efforts to get people to change by simply making things more fun. The Giant Piano clip got over 500,000 views on YouTube in just over two weeks.
Piano Staircase
The World’s Deepest Bin
This video received a bit less views, 88.000 views in 4 days. Minor detail: The original Swedish version - Världens djupaste soptunna - rolighetsteorin.se - “only” got 129.000+ views in 20 days.
Bottle Bank Arcade
About the platform
Statistics on the videos
Another nice detail is that Volkswagen is being associated with fun a lot on Twitter. Looking at these results, you can see that Volkswagen is being mentioned several times per hour with the word fun and a link to the campaign.
YouTube statistics on Piano Staircase
Comparisation with Ray Ban
22.9.09
Aviva car insurance:::
Aviva wanted to engage consumers when they would be in the right frame of mind to think about car insurance. The obvious solution was to target motorists when they were actually on the road, so the insurer decided to advertise with In Your Space.
In Your Space displays advertising on the sides and back of its trucks. According to the media owner, 64% of motor vehicle traffic is via motorways and major A-roads, which are covered by its moving billboards. It recently carried out a £70,000, 12-month long research programme to provide the likes of Aviva with specific targets.
Aviva’s campaign is running on a total of 210 ad sites - termed as ‘high reach billboards’. The lorries carrying the ads will cover more than one million miles of road. If estimates prove correct, the campaign will communicate to over 24 million motorists every month, with each motorist expected to see the adverts at least 7 times, delivering a total of 508 million impacts over the three-month campaign period.
With TV advertising overloaded with insurance companies, it makes sense for a car insurance firm such as Aviva to move its advertising into a more relevant space for its target market, although the environmental impact of such advertising may concern insurance customers in the future.
BRAND: Aviva car insurance
BRAND OWNER: Aviva
CATEGORY: Automotive
REGION: UK
DATE: Aug 2009 - Oct 2009
AGENCY: AMV/OMD
OTHER AGENCIES:Posterscope
MEDIA OWNER: In your space
MEDIA CHANNEL
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